Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Tuesday, November 1, 2016

BLAST OF SILENCE (1961)

Before heading to L.A. and a life directing vapid tv shows (BRADY BUNCH; CHARLIE’S ANGELS); Brooklyn-born Allen Baron somehow managed to write, direct & take the lead in this sharp, micro-budgeted crime pic. Often lumped with early John Cassevettes, the film is a better match with the earlier streetwise films of Morris Engel, like LITTLE FUGITIVE/’53, in both location work & indie manners; its ‘60s Yuletide street scenes nicely caught by producer/lenser Merrill Brody. And hardly a trace of Cassevettes’ house-style Method Acting Exercising from the semi-pro cast. Baron, looking like a junior George C. Scott, plays a Cleveland-based hitman on a job in Manhattan taking out a mid-level mob guy. But casing the joint leaves him too much free time and he runs into an old school pal from orphanage days; and worse, the guy’s sister he once had a crush on. It throws him off his professional routine. A bit thin, even at 80 minutes, Baron piles on pulpy authorial narration as filler, and it’s pretty ripe stuff.* But the film has something good going on most of the time, and a tasty jazz score to carry you to the next downbeat location when it doesn’t.

ATTENTION MUST BE PAID/DOUBLE-BILL: *Narration read by an uncredited Lionel Stander and written by Waldo Salt under a pseudonym, both men BlackListed at the time. Salt, working under his own name, would gain an Oscar® working similar territory on MIDNIGHT COWBOY/’69.

No comments: